I have been trying to improve my notorious interpretations of Chopin.I think simply that they are only masculine but not aggressive like a gun.Yet, accepting the critic I corrected them. Are they still like a gun?I swear to God,I never get angly with my students never accused them in my whole life.My music must be calm and gentle as my life itself.but even my college says that my interpretations are expressionistically agressive.Perhaps it might be right! Anyway I will eliminate fimale sentiment from Chopin.

Is this a quest? What does this mean? What you call female sentiment is not a trait of Chopin, it is a trait of music. By this I mean that the tender, the lovely, the endearing, the charming and beautiful, the vulnerable is found in the works of all great composers and it would be wrong to try to expunge this, as it would the strong, aggressive, heroic, barbaric, tortured, perplexed, etc. You must bring out of the music what you find placed there by the composer.

_________________Eddy M. del Rio, MD"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne

Perhaps I wrote wrongly. I would like eliminating a prejudice upon Chopin from his work. I don't think that Chopin is weak,hinfaellig. I prefer to emphasize his strong side. Please check my interpretation first and then criticize what I wrote!

Just "notorious" as Mrs. Pianolady couldn't put my last Barcarolle into my page on Pianosociety and discribed my last Nocturne as Gun-like even if she replaced it kindly with the previous one. I myself find them not so agressive at this moment. Horowitz's one are more atocious and savage than mine, I think.

Perhaps I wrote wrongly. I would like eliminating a prejudice upon Chopin from his work. I don't think that Chopin is weak,hinfaellig. I prefer to emphasize his strong side. Please check my interpretation first and then criticize what I wrote!

Well I did listen to your works before my comment, but I limited my post to what you wrote. Now I will say that I think your apporach for these two works would improve if you would think of yourself playing in the salon of a wealthy Parisian instead of the stage of Pleyel. Also, consider that they are not sonatas or etudes. Finally, I prefer your Barcarolle to the Nocturne because the Nocturne has some significant rhythm/tempo problems, more specifically in integrating the right hand filigree into a consistent and unified LH which serves as the integrative skelton for the entire work. In this work the RH may bring the beauty, but the LH brings the structure. Now that I think about it, this is true for both works. I hope that is helpful.Regards,Eddy

_________________Eddy M. del Rio, MD"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne

Hi Teppei,I only had time to listen to the Barcarolle. I think your version here is better than your last one, but there are a couple rhythm glitches and a couple wrong notes. I'm not looking at the score right now so I can't give you specifics, but I will try to later today. And please know that if I or Chris do not put up certain members' recordings, it is because we strongly feel the recording in question is not up to PS standards, and we have faith that the pianist can do better. In the long run, this forces the pianist to work more on the piece, which results in getting a much better version and everybody is happy!

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

On the nature of Chopin's music, I do not believe that all of his oeuvre is of a masculine nature or that all of it is on the feminine side. It really depends on the piece. For example, the Polonaises tend to have a heroic tone, so might be considered by many to have a masculine quality to them. Most of the nocturnes, by nature gentle, romantic and lyrical music intended to be played outdoors in the evening, would certainly have some feminine qualities about them. And other genres such as the Preludes and Etudes, as examples, might have pieces that display either tendency based upon the specific piece being performed. So I think it's difficult to generalize in that regard. We have to take each piece on its own merits.

One thing we must take into consideration was that in later life Chopin suffered the ravages of tuberculosis, so often felt quite ill and weak. This affected his strength and energy, as it would anyone's. So when he gave a recital a given listener might have thought that Chopin could only play within the dynamics of soft and softer. This might then have led one to believe that Chopin was weak and that all of his music had a feminine character to it-- not always a valid conclusion, however, as in the hands of a more healthy, robust and vigorous pianist a good deal of Chopin's music could be described as being strong and energetic. So again, there are variables that need to be taken into account, meaning that we have to play each piece as we find it.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

Just "notorious" as Mrs. Pianolady couldn't put my last Barcarolle into my page on Pianosociety and discribed my last Nocturne as Gun-like even if she replaced it kindly with the previous one. I myself find them not so agressive at this moment. Horowitz's one are more atocious and savage than mine, I think.

Oy oy, you do mean notorious after all!

Do not take this personally: Monica and Chris give me a hard time too. You cannot imagine how many recordings of mine they have sent back because they were not so good. This ensures that we members try to do our best and it insures that listeners will find good recordings to listen to.

_________________Richard Willmer"Please do not shoot the pianistHe is doing his best."Oscar Wilde: Impressions of America: Leadville

Do not take this personally: Monica and Chris give me a hard time too. You cannot imagine how many recordings of mine they have sent back because they were not so good. This ensures that we members try to do our best and it insures that listeners will find good recordings to listen to.

Exactly! Thanks, Richard.

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

Do not take this personally: Monica and Chris give me a hard time too.

Not to mention that we are giving ourselves a hard time too, taking great pains over new recordings, often re-recording after feedback of members, and regularly redoing old recordings as a matter of principle

The Barcarolle doesn't sound aggressive to me. I agree that Chopin's music is stronger than many people seem to think. In the middle section between 4:00 and 4:30 the tone sometimes gets a little bit harsh. You can improve this by paying attention to your voicing: making sure the lower notes of chords are always softer than the melody. This goes for the whole piece, not just the middle section: you can focus more on the melody throughout. With this particular work it's very challenging! The writing is rather thick and chordal compared with the ballades.

The ending (the last four chords) could even be a little bit stronger.

The thing I notice most about your playing is the frequent tempo changes. I like a bit of rubato, but this is too much even for my taste! Although it does get better later in the piece.

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